Search results
function that is important in ensuring stability in the wider world. The complex social structures in such a world are always clearly adumbrated in this drama, with the family as the smallest unit of an integrated social world placed in a realised geographic locality and based upon economic interdependence. Locale is created through reference to recognisable neighbourhoods: to the length and time it takes to move around them, to the kind of people
Word (e.g., Acts 20:28–9). Pastoral, in other words, has long been used to figure forth both the abuse of power and the possibility of benign, albeit hierarchical, interdependence among God’s creatures. This highlights a distinction, in the Metamorphoses , between the vision of Pythagoras and that of the larger poem in which he appears. The one implies a radical levelling of living forms, the other posits enduring differentials of dignity and prestige. In other words, not all metamorphoses are equal. Some are clearly punitive, as when
hierarchies and boundaries to hint at an alternative ‘vision of connection and interdependence that we now call ecological’, or even ‘post-humanist’. 46 If Gregerson’s chapter concerns primarily earthly ecologies and worldly matters, Ramachandran’s takes Spenser and Donne beyond the sphere of the moon to address cosmic matters – both in the sense of ‘cosmos’ as an orderly universe and in the sense of formal aesthetics. Situating Spenser’s Fowre Hymnes and Donne’s Anniversaries within the rich continental tradition of philosophical poetry, Ramachandran makes a strong
wish’; Apelles, in turn, is distraught by his patron’s demand, as the ending of the portrait will entail the end of his access to Campaspe. The painter’s reaction to the order, however, reveals the interdependence between ‘finish’ and image-breaking, as Apelles resolves ‘by device’ to give the portrait ‘a blemish’ in order to prolong the painting process and to declare his love to
body, soul, and sins as well as their mutual interdependence make the speaker reflect on his fate, and what he reflects on (though only implicitly) is the relation of body and soul – and ‘I’. The soliloquy/inner dialogue is therefore not only a rhetorical form serving to achieve clarification and dramatic immediacy but also a mode inherently appropriate to, and expressive of, the speaker’s attitude towards the question of death, judgement, and life
in the final couple ‘as the appropriate figure to convey this idea of reciprocal deception as well as the feeling of mutual interdependence’ (72). A similar relation can be stated with regard to Tarquin and Lucrece. 5 On the relatedness of chiasmus, contrast and also parallelism see, e.g., Davis, ‘Structural Secrets’ (238); Horvei, Study in Shakespearean Rhetoric
literary and theatrical reception. In Shakespearean Sensations (2013), Katharine Craik and Tanya Pollard argue that critics need to take seriously ‘the complex and intimate reciprocity between books, bodies, and selves’, and suggest that ‘[o]ur longstanding habit of separating bodily responses from intellectual reasoning has deterred critics from exploring their interdependence’. 10 For Craik and
to death as an exit from this world in his final sermon, ‘Deaths Duell’, where being born and death become dramatic acts, and birth is described as entering a world of death. Donne visualizes this notion in terms of a paradoxical interdependence of exitus and introitus , of going out and going in, which characterizes the relation of life and death: 11 But then this exitus a morte , is but
hypocrisies of an environment where social and economic considerations are shown to predominate. The complex social structures in such a world are clearly adumbrated in A Warning for Fair Women , A Yorkshire Tragedy and A Chaste Maid in Cheapside , where the family is the smallest unit of an integrated society that is based upon the importance of geographic locality and economic interdependence. In such conditions maternity is vulnerable and
the House of Lorraine. Finally, the localisation of the action specifically in Navarre – presumably at Nérac, where the court was located, although no location is named (another deferral mechanism) – contributes to the double perspective. Both the political independence and interdependence of the kingdoms of France and Navarre are embedded in the play’s action, and would have been well understood by contemporary audiences. Whether the current King of Navarre would also accede to the French crown – and hold it securely – hovers as an issue in the background. So